The Problem of Page and Stage in Russian and British Productions of Shakespeare

Kent Academic Repository Full text document (pdf) Citation for published version Radosavljevic, Duška (2014) The Problem of Page and Stage in Russian and British Productions of Shakespeare. Arts Studies Quarterly (2). ISSN 0032-9371. DOI Link to record in KAR https://kar.kent.ac.uk/42001/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html 2/2014 , ART STUDIES QUARTERLY 2 – ISSN 0032-9371 47-a 2014 . ............3 duška Radosavljević. The Problem of Page and Stage in russian and British Productions of Shakespeare ...........................................................................12 . ..............................................................18 . . .................................................................................23 . ......................................31 -. „ ” ............................................................................36 . O ..........................................................................................40 . ! 90- ......................48 . – „ ” „ „” ......................................................................................................57 . – .............................................................................58 . . „ 1989 ” ...........................................................................59 . „ 1878-1944” ....................................................................60 .....................................................................................................................62 CONTeNTS Kamelia nikolova. Shakespeare in Bulgarian Theatre Space Today ................................3 . „ ” ........................................................................12 evgenia Pancheva. The Taming of the audience ............................................................18 sava dragunchev. Stages to achieve a Shakespearean Character .................................23 nadezhda marinchevska. Shakespeare in an animated stippled line .............................31 ingeborg Bratoeva-daraktchieva. Franco Zefirelli’s „romeo and Juliet” as a crossover ilm model .................................................................................................36 nenko atanasov. Shrewish labours of the untamed Bulgarian theatre posters ..............40 mariana lazarova. Shakespeare forever! adaptation as re-contextualization in British cinema of the 90s of the 20th century ...............................................................48 reVIeWS nadezhda marinchevska. Bulgarian cinema - from „Kalin the eagle” to „mission London”. .......................................................................................................57 nikolay Yordanov. For the drama and the resistance – a recent critical view .................58 anna topaldzhikova. For a productive inluence. „Bulgarian theatre after 1989 and new British drama”. ..................................................................................59 milena Georgieva. For angela Daneva’s book „Bulgarians in Italian academies of Fine arts 1878-1944” ...................................................................................................60 SummarIeS ...................................................................................................................62 2/2014 : . .. , . - ( ), . (), . - , . (), . - , . , . .. , . - , . .. (. ), . .. , . .. . : , „ “ . „“ 21, C 1000. 944 24 14, +359 2 943 30 92 e-mail: [email protected] . , . . [email protected]. editorial Board: Prof. aLeXaNDer YaNaKIeV, DSc; assoc. Prof. BISSerKa PeNKOVa, PhD (editor in Chief); Prof. CHaVDar POPOV, DSc; assoc. Prof. DIaNa GerGOVa, PhD; Corr. mem. eLKa BaKaLOVa; acad. GOJKO SuBOTIC (Serbia); assoc. Prof. INGeBOrG BraTOeVa, PhD; Prof. IVaNKa GerGOVa, DSc; Prof. KameLIa NIKOLOVa, DSc (Dep. editor in Chief); Prof. rOmeO POPILIeV, DSc; assoc. Prof. VIOLeTa VaSILCHINa, PhD; Prof. VLaDImIr PeTruKHIN (russia) Contact details: art Studies Quarterly, Institute of art Studies, Bulgarian academy of Sciences 21 Krakra Street, 1000 Soia, Bulgaria phone: +359 2 944 24 14, fax: +359 2 943 30 92 [email protected] manuscripts may be submitted either via e-mail or to the editorial Ofice. manuscripts should be prepared in accordance with the editorial staff’s requirements, available at the editorial Ofice. manuscripts will not be returned to authors. Subscription information is available at the editorial Ofice or provided by margarita Kerpitchian at [email protected]. : : : : : , Compiled by Kamelia Nikolova Clerical secretary: Tsveta Kuneva Designed by maya Lacheva Photo editor: Ivan Vanev Translated by Kamelia Nikolova, milena Lilova I „” , . / , „”, ( 3 , 2014, „ ” - „” 2014-2016) First cover „Hamlet“ by William Shakespeare, directed by Dominic Dromgoole/Bill Buckhurst, ‚Shakespere‘s Globe Theatre, London, uK (In Bulgaria - 3 June, 2014, ITF „Varna Summer“ - Globe to Globe 2014-2016) IV , 1995 . Back cover Nikolay mladenov, 1995 2/2014 THE PROBLEM OF PAGE AND STAGE IN RUSSIAN AND BRITISH PRODUCTIONS OF SHAKESPEARE* Duška radosavljević, university of Kent, united Kingdom An interesting event, which brought the English Shakespear- them must be understood as an epistemological rather than ean and Russian Stanislavskian tradition together, took place a mechanical endeavour. This notion of translation presup- in September 2010 in Stratford-upon-Avon. Organized by poses that not only the verbal content is rendered from one Paul Allain (Professor of Theatre and Performance, Univer- idiom to another, but also its contextual meaning. sity of Kent) and Struan Leslie (Head of Movement, RSC), Philosopher Levi R. Bryant offers a very useful interpreta- the event was a culmination of a two-year research project tion of Bruno Latour’s idea of translation which seems par- between the University of Kent and the Moscow Art Theatre ticularly suitable here: (MHAT) School entitled ‘Tradition and Innovation’. Both „Think about photosynthesis. Here we have photons of in the run-up to the ‘In the Body’ Symposium, and in the sunlight, the leaf and its photosynthetic cells, and the sugar course of the weekend during which it took place, one could produces [sic.]. The leaf ‘translates’ the photons of sunlight observe an interesting phenomenon. There was a mutual and produces something new: the complex sugars. There is fascination between the British and the Russians. The Brit- no resemblance or identity between the photons of light and ish were often greatly impressed by the rigour, intensity and these complex sugars. Rather that sunlight becomes some- virtuosity with which the actor training is taught at MHAT1. thing new in passing through the medium of the photosyn- The Russians, on the other hand, are intrigued by the appar- thetic cells”3. ent variety of working practices that exists in England, such Given this conception of translation as photosynthesis – as as devising, immersive or site-speciic theatre. But both of a process which yields ‘something new’ – we can perhaps these sets of experiences have their limit and their lip-side begin to conceive of the relationship between text and per- too. The russians are quickly disappointed when they ind formance as translational – or, more precisely, transforma- that the theatre they see is of apparently indeterminate genre, tional. In considering the process of staging a play, we may below a standard they expected, or so verbal that it does not need to resort to the notions of director’s theatre which, due sustain their attention. Conversely, the British are worried by to distinct cultural genealogies, will have different manifes- what they perceive to be a certain dogmatism that underlies tations in continental Europe as opposed to the anglophone Russian performer training as there is little accommodation world. Needless to say, those traditions must be understood of personal ability of the students in it. paradigmatically, in relation to their own contexts, before In Stratford, the British participants were dazzled and thor- they can be appropriately related to each other. Despite liv- oughly exhausted by a sprightly, charismatic septuagenar- ing in an age of globalization, the MHAT/RSC encounter ian, Andrei Droznin, an engineer-turned-acting coach who mentioned above has highlighted that the pre-1989 con- teaches his extremely dynamic movement classes in a suit ception of the east/West binary is still at times dificult to and tie2. He was accompanied by his former students, MHAT

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